Posts Tagged fps
Bullet-point review: Jedi Knight.
Posted by The Management in games on June 3, 2010

Jedi Knight came out just a year after the original Quake, and was already showing its age upon release. Its development team was wise enough to include support for hardware acceleration and mouse-look controls (complete with a neat if archaic calibration of the axes that allowed for some very sensitive camera movement), but the low- poly count was much harder to mask.

Guarded by a force field -- with a rather obvious power source -- this area leads into a twisting maze of vents that all have a different idea of where the gravity source is located. Confusing, but fun.
Jedi Knight still received very positive reviews, though, and rightfully so. It wasn’t perfect, and hasn’t aged particularly well, but I had a blast with it.
Here are some of the points that stuck out upon replaying it:
— The level design in Jedi Knight is fantastic, and probably its biggest strength. Of course level design was a bit of a different beast back then: areas tended to be much larger with fewer scripted events, the player had an inventory of keys and other usable items that facilitated environmental traversal, platforming puzzles were quite common (although usually disliked), movement was much, much quicker, etc.
Within that framework, though, the levels were a treat.
Despite the game’s low-poly count, its geometry was quite complex and varied. Textures were often repeated, but new ones trickled in periodically and every map had its own unique motif. The player was also constantly operating large-scale machinery that dynamically changed the landscape.
It all made for a nice combination of action, exploration and some occasional head-scratching. The only complaint I had with the levels were the large, industrial looking doors that were virtually indistinguishable from walls. Since these had to be opened with a button press, there were too many instances where the player could easily get stuck simply due to dodgy visuals.
— In-between level cinematics consisted of live-action actors superimposed over CG backdrops. They were rather silly and pretty low-budget, but did a decent job of conveying the story while showcasing certain visuals that were not possible to render within the game engine.
— The player was able to carry 10 weapons at any one time, and many of them shared the same ammo source. The limited ammo made becoming a Jedi and obtaining a lightsaber all the more rewarding. Visually speaking the lightsaber wasn’t anything fantastic, but it had unlimited power and the added advantage of lighting up dark areas and deflecting smaller enemy shots.
— Jedi powers were earned as the player progressed through the game, and they could be focused on neutral abilities, the light path, or the dark side. The powers themselves were a nice addition to both the singleplayer and the multiplayer, and were sometimes necessary to progress through a level (or at least take a short cut).
Force Pull was a particularly fun one as it allowed you to snatch weapons out of the enemies’ hands or grab healing items from far away.

It's possible to blow up those barrels from this location, but due to wonky ray-tracing so common in older FPS games, my shots hit the wall.
— All the enemies responded to basic in-world physics, even after death, which made for some cool effects like a dead body sliding along the current of a pipeline.
— A lot of the audio was taken straight from the Star Wars movies, including the iconic sound effects and the famous scores by John Williams. These greatly enhanced the atmosphere and helped Jedi Knight stand out from other FPS titles of the era.
— The way the game’s secret rooms were placed was quite clever as they followed a pattern that went against the common funneling/guiding techniques of level design, e.g., a small nook embedded into the wall just above the entrance to a room was very easy to miss if the player ran right in without looking up and behind.
Enemies were often utilized to help the player spot these locations as they would often be placed in seemingly inaccessible locations, but with enough sleuthing, the player could always discover a way to reach his foes. A tally at the end of each level also informed the player as to whether he missed any secrets.
The impetus to discover the secret areas was very good as well. Not only did these locations often contain health, armour and ammo, but finding all the secrets in a level rewarded the player with extra force powers.
Jedi Knight is available for cheap on Steam, although everyone should keep in mind that it’s a very lazy port/re-release. None of the GUI elements have been updated for higher resolutions, the title screen and in-game cinematics must be viewed in a windowed mode, and the game doesn’t come with its original music. There’s a fix for that, but make sure to check out the forums first to get a better idea if it’s worth your money.
Framerates do matter.
Posted by The Management in design on January 6, 2010

A while ago I was reading up on Starblade, one of the first commercial polygon-based games. What really struck me about the game was just how smooth it was compared to its spiritual successor, Starfox (granted the above links are YouTube videos that don’t accurately reflect framerates, but the differences are still quite noticeable).
It’s an extreme case, but one that nicely demonstrates the importance of rendering speeds.

Despite having animations that consisted of only 2-3 frames, many classic games ran at 60fps. This granularity helped to smooth out movement, including Mario's beloved jump.
Of course no one ever complains about games being too smooth, but the debate of 30fps vs. 60fps continues to pop up. What’s more, the 60fps side keeps losing ground, often to the argument that humans can’t really detect more than 30 frames in a single second.
And that is completely untrue.
It’s an inherently flawed statement as humans are not digital machines. The human brain is always on, always receiving input. Light hits our eyes as a wave, and the information it carries is almost instantly transmitted to the Visual Cortex. The brain analyzes this data, focusing on changes brought on by motion and fluctuations in intensity. Displacement is interpolated via motion blur and identical input is discarded to avoid extraneous processing.
The “decoded” image is further analyzed by various parts of the brain, but the overall process — as complex as it is — is quite fast and versatile. Much faster than 30fps. Faster than 60fps, in fact.
So where does the myth of 30fps come from? Well, film and TV for the most part, but the framerates of those media are not analogous to those of videogames. Others have written extensively about the topic, so I won’t go too deep into it. What I’d like to talk about, though, is why high framerates are important to games.
As a preface, different titles obviously have different requirements, and some suffer more from a low FPS than others. Also, the reasons for Insomniac’s decision to move away from their 60fps standard were completely understandable, if a little painful to accept.
With that said, here’s why I think high framerates are important:
1). Granularity
The framerate of a game is usually directly tied to the processing of its logic. As a result, action games that run at 30fps cannot have the same granularity of movement as those that run at 60fps. This might not matter much for turn-based strategy titles, but it makes an awful lot of shmups technically impossible to do at lower framerates.
2). Input Lag
Games are inherently an interactive medium, and as such the response times for input need to be virtually instant. On the hardware side this is rarely an issue, but a stuttering framerate can reduce the response times and greatly detract from the overall experience (especially in “twitch” titles).
3). Consistency
30fps isn’t bad, but what most people fail to realize is that it’s often the “ceiling” measurement, i.e., the best case scenario. Unlike TV and film, games are dynamic, and the processing required to render any given scene can fluctuate quite significantly. As a result, 30fps games actually tend to run at a rate of 20-30fps. These sort of inconsistencies can be very difficult to avoid, but they’re much less noticeable with higher benchmarks.
4). Motion Blur
Motion blur is the biggest reason TV and film get away with smaller framerates. The phenomenon of motion blur relies on the human brain’s ability to stitch together a series of blurred images into a single, smooth animation. Until fairly recently, games had absolutely no motion blurring, and even these days it doesn’t have quite the same effect. The reason for this is that post-process blurring is not always accurate, and in many cases purposely exaggerated to create a distinctive visual effect.
To properly accommodate for all these factors, a high framerate is a must. And when it’s there, it creates a certain synchronization between the player and the game; a smooth flow that more developers should strive to achieve.
S.T.A.L.K.E.R.: Shadow of Chernobyl bits.
Posted by The Management in games on February 18, 2009
S.T.A.L.K.E.R. is a non-linear FPS developed by Ukrainian studio GSC Game World. Thematically and conceptually it’s based on the novel Roadside Picnic and the movie Stalker, but gameplay wise it’s a mishmash of various genre conventions.
It’s also very much a hardcore game that’s difficult to play because of its mechanics and its dreary atmosphere. Still, there’s a lot of interesting stuff here:
Speaking of Mirror’s Edge…
Posted by The Management in games on February 3, 2009
This is an in-development game entitled “The Unfinished Swan.”
It’s definitely an interesting concept, especially since the game uses no shading/lighting to speak of. Watching the demo video, though, I couldn’t help but think that it’d benefit from some movement options and effects akin to Mirror’s Edge. Nothing too crazy, mind you — there’s no reason to put in guards and guns — but something to add to the game’s exploration aspect.
Granted this is mostly a tech demo at this point, so this strictly a speculative opinion. Still, DICE is taking their title in a more streamlined and abstract direction with downloadable content; The Unfinished Swan already has that vibe, now I think it just needs some extra gameplay to accompany the rest of the package.







Hi, my name’s Radek Koncewicz, and I work as a videogame design consultant. I'm also the creative lead of